Here is some more genre research on how the style of teaser trailer of selected psychological thrillers have changed overtime

1. Genre Research-
Teaser Trailer Style
By Olivia Houlton

2. The Lodger- Teaser’s Style
• Camerawork-
- Angle- During the shots of girls screaming there is use of a
canted angle to reinforce a sense of chaos and fright. Also,
there is use of a high angle shot when focused on women
in the film, perhaps to symbolise their vulnerability
towards the avenger and their low social status in society
at that time
- Movement- there is a very slight crab movement during
the footage of the car driving off, creating a sense of
urgency and panic in its motive
- Shot type- There are many close-ups of girls screaming in
the trailer, echoing the theme of danger and vulnerability.
Also, the shot positioning when Mr. Drew approaches
some stairs creates the impression of hiding behind the
banisters. This secretive positioning creates a sense of
enigma and tension.

3. The lodger- Teaser’s Style
- Composition- The structure of the office footage is very
interesting as there is a distinct foreground, middle-
ground and background all in which office workers are
running around madly. This composition enhances the
themes of confusion and commotion. There is also use of
proxemics throughout the trailer, for example when Mr
Drew and Mrs Bunting first meet there is a medium-long
shot showing the distance between them. This space
indicates towards the friction and hesitation in their
relationship. Also there is use of the rule of thirds in a
shot of Mr Drew creating an increased sense of realism
and interest in the shot. Conversely, there is a shot of Mr
Drew, later on, disrupting this rule, creating a sense of
discomfort and anxiety in the audience, further creating
tension and anticipation as the plot unravels
- Depth of field- The footage in the lodger has deep focus
to add a sense of realness to the shots

4. The Lodger- Teaser’s Style
• Sound-
• Non- diegetic- There is a continuous
soundtrack playing over the trailer. The
soundtrack is of an orchestra playing a very
mysterious and dramatic piece that builds up
towards a climax as more instruments jump
in throughout. This theatrical piece is very
parallel to the intense visuals of murders in
the trailer. Also, due to the soundtrack being
continuous over the footage there are many
sound bridges over different scenes, adding
to the climatic effect of the trailer.
• Diegetic sound- In the trailer there is no on-
screen sourced sound, this is mainly due to
The Lodger being a silent movie.

5. The Lodger- Teaser’s Style
• Editing-
• Order of Shots- The first shot shown, in the trailer,
immediately introduces the protagonist to the audience
which is effective in making him a memorable character.
Also, the middle part of the trailer consists of lots of shots in
relation to the articles and headlines of the unknown
murderer, for example a close-up of a newspaper headlines
is followed by a group of girls reading the paper. The
juxtaposition of shots showing the advertisement of the
unidentified killer gives rise to how serious the situation is
and creates a sense of thrill and enigma. Also, towards the
end there are many close-ups of shocked facial expressions
one after the other, helping end the trailer on a mysterious
note.
• Continuity- Although there are small scenes in the trailer
that have continuity, the majority is a montage of clips. This
is so that the trailer can cover a broader range of clips within
the film and engage the audience with the best bits.

6. The Lodger- Teaser’s Style
• Transitions- During the very clip of Mr. Drew meeting
Mrs. Bunting there is use of a fade transition to provoke a
sense of mystery, however further on in the trailer
straight cuts a predominant to create a faster pace and
more excitement
• Shot duration- There is not a vast difference in shot
duration in this teaser trailer as almost all shots are
between 1-2 seconds. However the shots of Mr. Drew
tend to be 2 seconds and above, highlighting his
importance in the plot
• Pace and rhythm- The teaser trailer has a very fast pace,
also the pace is very consistent and does not change too
much. However at the very beginning it is noticeably
slower as the titles are are being shown
• Special effects- There is a clip of the Buntings looking up
and the ceiling above them turns clear and you can see
Mr. Drew pacing around. This effect may symbolise the
higher status of Mr. Drew at this point in the plot as the
Bunting are looking up at him showing his superiority.

7. The Lodger- Teaser’s Style
• Mise-en-scene-
• Setting- The setting of Victorian England creates a very
eerie and unnerving atmosphere, adding to tension within
the audience
• Props- A recurring prop is the note found with “The
Avenger” written on it. This prop is essential to the plot of
the film, also it reflects on the Jack the Ripper murders as
he also left notes and messages to the police. The hidden
identity of “The Avenger” further enhances the theme of
mystery
• costume/hair/make-up- The policeman in the teaser
trailer is dressed in a very stereotypical costume. This
allows the audience to recognise him as a figure of
authority. Also, the young girls shown in the trailer have
very neat make-up and hair, echoing the key characteristics
of a conventional damsel. Mr. Drew’s make-up and hair is
also very tidy and clean making him appear very
respectable but even more mysterious as a suspected killer

8. The Lodger- Teaser’s Style
• Facial expression/ body language- When a dead
body is discovered, a witness is seen very
distressed as she curls up her fingers and eyes
are very wide with her mouth open. The worried
persona of many of the characters further
highlight the seriousness of the situation
• Lighting and colour- The majority of outside
shots within the teaser trailer are at night
creating the sense of darkness, reflecting on the
evilness of the murders. Also in the interior shots
the lighting is used to create many shadows,
further reflecting the the theme of evil and bad.
Also, in the shots of both Daisy and Mr. Drew the
light is mainly focused on their faces, perhaps
symbolising their innocence and goodness
throughout the plot

9. Rear Window- Teaser’s Style
• Camerawork-
• Angle- When Jeff is talking to his friend about his
concerns a high angle is used, perhaps to indicate towards
his vulnerability in the situation. This is because he can’t
find any evidence to prove to the police Thorwald is guilty
and he is physically incapable as he has broken his leg
• Movement- During the very beginning of the trailer there
are many crab and tilt movements of the camera around
the block of flats. This creates tension in the audience as
they don’t yet know what they are searching for. Also, 1
minute 16 seconds in, the camera zooms on the face of
Lisa, creating a sense of seriousness and echoing the
drama of the plot.
• Shot Type- During the romantic scene between Lisa and
Jeff there are man close-ups on their faces to create a
sense of intimacy and closeness. However, 44 seconds in
there is a long shot of Thorwald walking down a dark
alley. The use of a long shot here creates the impression
of a hidden identity as you can’t see Throwald’s face,
further enhancing the theme of mystery and enigma

10. Rear Window- Teaser’s Style
• Composition- 1 minute in there is use of the
rule of thirds on Lisa’s face further creating a
sense of realism and structure in the shot.
However this rule is broken when Thorwald
looks into Jeff’s binoculars as he is very central
in the shot creating a certain uneasiness. Also,
this makes the audience feel inferior and
threatened by Thorwald’s use of direct address.
• Depth of Field- Although the majority of the
teaser trailer is in deep focus, near the
beginning there is a shot of Jeff looking through
his camera and there is selective focus on Jeff’s
face. This introduces him as a protagonist and
implies his significance in the plot.

11. Rear Window- Teaser’s Style
• Sound
• Diegetic- Dialogue- during the romantic scene
between Jeff and Lisa, she says, “shows over
for tonight”- this creates a calm and relaxed
atmosphere. However, Jeff soon starts to
question Thorwald and explains his concerns
to Lisa foreshadowing the danger they are
about to embark on. At 59 seconds in Jeff says,
“Just how would you start to cut up a human
body?” further implying the themes of hazard
and risk.

12. Rear Window- Teaser’s Style
Non-diegetic Sound-
Voiceover- at 43 seconds in there is a voiceover of Jeff
explaining how he has seen Thorwald take and use
“mysterious trips at night, knives and swords and ropes”.
Whilst he explains this to Lisa footage of Thorwald doing all
these actions are shown. The use of sound bridges here
make the audience believe Jeff and feel suspicious of
Thorwald. Also, there is another voiceover when Thorwald
looks directly into the camera as Lisa says, “What are you
gunna do if one of them catches you?”. This second use of a
soundbridge foreshadows how Thorwald will catch them and
how he is a threat to all his neighbours.
Soundtrack- There is a constant soundtrack throughout the
teaser trailer, the music is very parallel to the images. At the
start when there are images of the blocks of flats there is
very tense, deep music running ay a slow pace. However
during the romance scene the footage is accompanied with
dreamy music mainly of violins. However when Jeff starts to
question Thorwald the tense music starts again but at a
slightly quicker pace. After Thorwald looks directly into the
camera there is a long pause, this further creates tension and
marks the moment when Thorwald realises he is being
watched. The following music is even louder and fast paced,
also it gets higher pitched as it crescendos to the title being
displayed.

13. Rear Window- Teaser’s Style
• Editing
• Order of shots- The beginning of the teaser trailer starts
with images of the blocks of flats. This is effective in
immediately setting the scene for the film. This is
followed by the romantic scene between Jeff and Lisa
which also introduces them as protagonist and
establishes their relationship. The following shots help
build towards the climax and inject tension, also
exposing key plot elements to the audience. 18 seconds
in there is a credit saying “he never should have seen”
followed by a shot of Jeff behind his camera looking
concerned. The order of these shots is significant in
implying to the audience that what he saw was sinister
and unforgettable.
• Continuity- Although during the romantic scene there is
continuity, the majority of the trailer is a montage of
clips to give the audience in insight to the best bits of
the film and encourage them to go watch the whole film
to fill in the gaps

14. Rear Window- Teaser’s
Style
• Transitions- There is a vast range of transitions used in the
trailer. Firstly, there is use of a fade during the establishing
shots of the flats to create a slow pace and eerie feel. Secondly,
there is use of a wipe further into the trailer from a credit to a
shot of Jeff talking to another character about his concerns.
This transition effectively adds further pace and drama to the
trailer creating more excitement and thrill. Also, there is use of
the iris transition during the end of the trailer over the actors
involved, adding more commotion to the climax and
significance to these these final credits.
• Shot duration/pace/rhythm- The pace and rhythm of the
trailer starts off quite slow, however when the romantic scene
is over the shot duration gets shorter as it builds towards the
climax. However after the climax the final shot of the title is
shown for a few seconds, slowing the pace shown and allowing
the title to be more memorable.
• Special Effects- During some of the credits there is a flashing
effect, resembling the idea of camera. This is effective in
emphasising Jeff’s job as a photographer and the whole idea of
him trying to capture evidence on his camera that proves
Thorwald is guilty

15. Rear Window-
Teaser’s Style
Mise-en-scene
• Setting- The setting is mainly established in the
opening when the camera moves around the
block of flats
• Props- The key props are the camera and the
binoculars Jeff uses to spy on Thorwald. These
props clearly show how severe the situation
and imply hoe Jeff’s spying is getting out of
control. The camera also reflects on Jeff’s job as
photographer.
• Costume/hair/make-up- The red lipstick, pearl
jewellery and neat hair and make-up imply Lisa
is the damsel in the plot. Also, it establishes her
as quite a glamorous character. However, the
grey hair, glasses and scruffy suit Thorwald
further represents him as a creepy character.

16. Rear Window-
Teaser’s Style
• Facial Expression/Body Language
• Lighting- Overall the majority of shots within the
trailer are quite dark implying the sinister plot. Also,
there are many contrasts of light and dark spaces
when Jeff is spying on Thorwald at night, perhaps to
focus the image more and resemble a cinema screen
as Jeff is only a spectator in the event. Also, light is
used to create many shadows within in trailer to
further emphasis the theme of mystery and enigma.
Also, 1 minute 8 seconds in when Thorwald realises
Jeff is spying on him, Jeff slides backwards in his
chair and his face is covered in darkness, this could
symbolise the trouble and danger he is getting
himself into.
• Colour- Nearing towards the climax there is use of
an orange effect over the image of Jeff in his
wheelchair. Due to orange having connotations od
prison, it could imply how Jeff feel entrapped in his
wheelchair. Also, the colour has certain connections
with bodily fluids so could foreshadow the violent
scenes within the film

17. Fatal Attraction-
Teaser’s Style
• Camerawork
• Angle- This teaser trailer uses many low angles
throughout to connotes different meanings. Firstly, there
is a low angle 52 seconds in when Dan is attacking Alex.
This angle makes the audience feel vulnerable and
scared of Dan in this aggressive outbreak, implying the
power and authority Dan has over Alex. Secondly, 56
seconds in there is use of a low angle as Alex throws the
phone to the floor, also making the audience feel scared
and wary of her and her unpredictable behavior as she
towers above them. Also, 57 seconds in a low angle is
used on a shot of Dan and Beths’ daughter when she
can’t find her bunny. This is effective in suggesting chaos
and disorder in the Gallagher household.
• Movement- the majority of camera movements in the
trailer are used on Alex. For example, 50 seconds in the
camera zooms out of a middle shot of Alex leaning on
the counter. This is effective in creating an eerie and
unnerving feel. Secondly, the camera zooms in 1 minute
16 seconds in on a shot of Alex switching the lights on
and off. Similarly this also creates a creepy feel as she is
sitting very still and the only movement is the camera.

18. Fatal Attraction- Teaser’s Style
• Shot type- 5 seconds into the teaser trailer, there is
a conversation between Alex and Dan before the
affair, where there is use of close ups, 180 degree
rule, shot-reverse-shot and over-the-shoulder-shot.
All these techniques create a conversational feel
and make the audience feel involved in the
discussion, also they create an eye-line match
which produces a sense of realism and interest.
Also, 14 seconds in there is a close up of Alex and
Dans legs which gives a sense of the intimacy and
passion in their relationship at the time. Also there
is a use of medium-long shot of Beth talking to Alex
once she found out about the affair, effective in
showing her tense and edgy body language. Also, it
allows all the family photos around her to be visual,
giving rise to how Alex has disrupted their lives.

19. Fatal Attraction- Teaser’s Style
• Composition- There is use of the rule of
thirds 18 seconds in of Beth happy and
cheerful when she doesn't’t know about
the affair, symbolizing the order and
structure her life is in during that point.
However 49 seconds in the rule is broken in
at shot of Alex leaning on the counter
where is is positioned central in the image.
This could be conveying show disorder and
trouble have broken loose and how Alex is
slowing going mad over her obsession with
the Gallagher family.
• Depth of field- The teaser trailer is in deep
focus to capture a sense of realism.

20. Fatal Attraction-
Teaser’s Style
• Sound
• Non-diegetic- Voiceover- whilst there is a voiceover
saying “A look that lead to an evening” there is a
parallel image of Alex and Dan looking at each other,
this narration at the start marks the moment they first
saw each other and the significance it plays in the film.
Secondly, there is a sound track played throughout
which is a deep base-note sound, bringing a sense of
drama and seriousness throughout the footage. Also,
there is a sound-bridge 1 minute 4 seconds in of a
man saying, “Whatever resentment she’s feeling she’s
probably got it out of her system” over the footage of
Alex on a rollercoaster with Dan’s daughter, Ellen. This
is effective in showing how this dialogue is a lie and
Alex is going to even more extreme lengths to get
Dan’s attention and has even turned to kidnapping his
daughter. Also, there is another sound bridge at the
very end when Alex is switching the lights on and off
and there is a video recording playing “guess you
though you’d get away with it, well, you can’t” then
the title appears.

21. Fatal Attraction-
Teaser’s Style
• Diegetic- There is lots of dialogue at the very
beginning during Alex and Dan’s conversation. Dan
says, “I don’t think having dinner with anybody is a
crime”. This is ironic as that dinner eventually leads
to the Alex’s murder. Also, following dialogue
effectively shows how the seriousness of the
situation is developing. For example, 38 seconds in
Dan says, “I’m scared Jimmy” and 55 seconds in
Beth says down the phone “if you ever come near
my family again I’ll kill you, you understand?”. This
use of sinister dialogue demonstrate how the affair
is spiraling out of control. Secondly, there is a
sound effect of a phone ringing 25 seconds
demonstrating how Alex keeps obsessively calling
the family in a bid to get Dan’s attention. Also,
there lots of screams, for example 1 minute 8
seconds in Beth screams for her daughter and 1
minute 13 seconds in Alex screams when attacking
Dan.

22. Fatal Attraction-
Teaser’s Style
• Editing
• Shot order- 37 seconds in there is a medium-close-up
shot of Alex lurking in the darkness then it cuts to a
shot of Dan saying “I’m scared, Jimmy”. This shot
order reinforces how dangerous and frightening Alex
is. 43 seconds in there is a shot of Dan explaining to a
friend how he doesn't’t want to loose his family then I
cuts to a shot of Beth finding out about the affair and
hitting him. This order conveys to the audience how
Beth thinks what he did was unforgivable and how his
worst nightmare is coming true. 52 seconds in there is
a shot of Beth threatening Alex over the phone. Then
it cuts to a shot of Alex throwing the phone to the
ground. This shot order symbolizes how much to two
women hate each other and how much dislike there is
in their relationship.

23. Fatal attraction- Teaser’s Style
• Continuity- The majority of the teaser trailer is a montage
of clips to only tease the audience about the contents of
the film. However, there is continuity at the very start in
the conversation between Alex and Dan to slow the pace
shown a little and show the significance of the night they
first met.
• Transition- The dominant transition is straight cut to help
jump from shot to shot quicker. However the first shot
opens with a fade perhaps to symbolize the mark the
dawn of their relationship. Also, it helps to add drama to
the opening shot. However the final shot, of Alex turning
the lights on and off, is followed by a wipe transition. This
could perhaps symbolize how their lives are slowly being
covered by darkness.
• Shot duration/pace/rhythm- The duration of shots is
quite consistent throughout about 1-2 seconds per shot.
However during the rollercoaster section the pace is
noticeably quicker, this is to symbolize the chaos and
disarray of the kidnapping event
• Special effects- The shots within this teaser trailer are
very natural to further create the sense of reality so there
is limited use of special effects.

24. Fatal Attraction- Teaser’s Style
• Mise-en-scene
• Setting- The overall city-setting may be used to represent the
unnatural quality in Alex and Dan’s relationship. Also, it could be
used to reinforce the idea of chaos and disorder.
• Props- 1 minute 13 seconds in, Alex is shown holding a knife and
running to attack Dan. This prop represents Alex’s violence and
psychotic behavior
• Costume/hair/make-up- During Alex’s first appearance she is
wearing a very low cut, provocative dress, foreshadowing the affair
about to take place. Also here she is represented as a very glamorous
and desirable women. However this image is later contrasted 50
seconds in where she is wearing an unflattering white dress with
make-up running down her face, showing how her personality has
changed throughout the film. Also, Alex has blonde, frizzy hair and
wears quite heavy make-up. This could represent how she is quite a
false character as our first impressions of her as a calm and collected
lady are later ruined when she shows signs of obsession and
disturbance. Conversely, Beth wears very proper and suitable clothes
with very light make-up and is brunette. This very natural look could
symbolize how real and genuine her personality is. Lastly, Dan wears
very formal suits with tidy hair representing him and a respectable
man and therefore inspires sympathy from the viewer when Alex
turns on him.

25. Fatal Attraction-
Teaser’s Style
• Facial expression/body language- 50 seconds in Alex is
shown leaning on the counter, smiling and crying at the
same time. This performance effectively show how
psychotic she is becoming. Secondly, 19 seconds there is a
shot of Dan hugging Ellen. This affectionate body language
encourage sympathy from the audience as their family is
being torn apart by Alex. Also 59 seconds in there is
footage of Beth asking if anyone has seen Ellen”. Her
worried tone and furrowed eyebrows imply that she is
extremely concerned and further gives rise to how Alex is
ruining their family.
• Lighting/colour- 38 seconds in there is a shot of Alex in
extremely dark lighting symbolizing how she is up to
mischief. 1 minute 3 seconds in there is a shot of Beth
running from a light room into a dark room whilst she is
frantically trying to find her daughter. This shows how she
is heading into darkness both literally and metaphorically
as Alex is getting more extreme in the ways she is tearing
their family apart. Lastly, during the last shot, Alex turns
the lamp lights off symbolizing how her own life will is
soon coming to an end in her murder.

26. Flight Plan- Teaser’s Style
• Camerawork
• Angle- There are many low angles in this teaser trailer.
Firstly, 31 seconds in there is a low angle of the coffin
that Kyle’s husband is in. This angle could represent the
power his death had over Kyle’s life. Secondly, there is a
low angle 55 seconds in when Kyle is trying to break out
of the airplane toilets. This low angle could symbolize
the power she has at this moment as she knows the
engineering and passages in the plane better than
anyone. Also, 1 minute 14 seconds in another low angle
is used to make the fire above Kyle visible and show the
danger and trouble she is in.
• Movement- 10 seconds in there is a tracking movement
of the camera as Kyle walks down the isles in the plane
looking for Julia. This effectively represents how fast she
is walking and how concerned she is about her daughter.
Also, 1 minute 14 seconds there is another tracking shot
of Kyle running away from someone, which shows her
faster pace and growing concerns. Also, it demonstrates
the action and drama in the film. Lastly, there is a quick
tilt movement when Kyle breaks through a windscreen
of a car. This further symbolizes the fast pace and
rapidity involved in the scenes and the rush she is in to
break into the car.

27. Flight Plan- Teaser’s Style
• Shot type- at the very beginning there is an
establishing, long shot of the airport. This s a very
interesting image due to the symmetry and
extreme architecture and engineering of the airport
and airplane. Also, it effectively sets the scene for
the following events. Secondly, there is a close up
shot of the teddy symbolizing the sentiment and
emotion it holds for Kyle. Also there is an extreme
close-up of Kyle’s hands when she is adjusting the
electrics. This shot represents how knowledgeable
she is about the engineering of the plane.
• Composition- There is use of the rule of thirds, the
180 degree rule and shot reverse shot when Kyle is
talking to Julia at the very start. This involves the
audience in the conversation and allows them to
see the closeness in their relationship. Also, 37
seconds in the composition of the people within
the shot make it seem like a very crowded and
packed area further reinforcing the theme of
entrapment and the chaos the kidnapping is
causing on the plane.

28. Flight Plan- Teaser’s Style
• Depth of field- 34 seconds in there is use
of selective focus, when Kyle has just
been told they think Julia is dead, where
Kyle is in focus and the background
blurred out. This further shows Kyle’s
horrified reaction to the news. Also, the
blurred out figures of the airplane
workers could give rise to their
participation in this event as some of
them were involved in the kidnapping.
Also, 1 minute 1 seconds in there
selective focus on a gun and a blurry
figure in the background. This depth of
field captures the strong sense of
mystery and enigma that is evident
throughout the film.

29. Flight Plan- Teaser’s Style
• Sound
• Non-diegetic- At the very beginning there is a soft,
peaceful instrumental soundtrack implying how
peaceful and comforted Kyle is with her daughter.
Also, during the tour of the plane at the beginning
there are sound effects of a digital swiping sound
to echo how modern and advanced the new plane
is. However when Kyle realizes Julia has been taken
the music changes to a faster and more tense
soundtrack to be parallel to the images of Kyle
frantically trying to find her. Also, there is a sound
bridge 52 seconds in over the credit reading “will
be revealed” where there is dialogue of Kyle
saying, “My daughter is alive”, this implies how the
determined and convinced Kyle is of her daughter
kidnapping.

30. Flight Plan- Teaser’s Style
• Diegetic- During the scene between Kyle and Julia, Julia says,
“mummy, did you make that plane?”. This use of on-screen
dialogue portrays Julia’s innocence and vulnerability in the
film. This followed by a sound bridge where Kyle explains to
Julia the many function of the plane, “2 stories, 7 galleys, crew
quarters” whilst visuals of a virtual tour around the airplane
are shown on the screen. This narration of the tour is very
effective in communicating the impressive, contemporary
features of the plane to the audience. However the dream like
image Kyle is creating of the plane is almost ironic as it really
turns into the nightmare journey of her life. 10 seconds in
there is overlapping dialogue of Kyle questioning everyone
where Julia is. This fast paced talk is effective in creating a
sense of chaos and alarm in the scene. 23 seconds in all sound
comes to a pause and the air hostess says to Kyle, “I don’t
think that she here”. This use of silence creates a sense of
unnerve and signifies that Julia is missing. Also 59 seconds in
there is use of ambience sound when Kyle disarms the
breathing masks as you can heat people panicking. This
effectively portrays a sense of disorder and fright. Also,
during the climax of the teaser trailer there is lots of screams
where Kyle yells, “Julia”. This further shows the fear and
horror Kyle is feeling and helps heighten the volume and build
up of the trailer.

31. Flight Plan- Teaser’s Style
• Editing
• Shot order- 15 seconds in there are several shots of her running
around the plane looking for Julia. This order indicates how her
worry of Julia’s disappearance is building up. 46 seconds into the
teaser trailer there is a shot of Kyle checking the heart Julia drew
on the window. This is followed by a close up of Kyle’s face looking
extremely frightened and tearful. This shot order represents the
worry Kyle feels about her missing daughter and how much she
misses her. Also, 59 seconds in there is an extreme close ups of
Kyle adjusting the electrics followed by a shot of the breathing
masks falling down in the passenger area. The juxtaposition of
these shots clearly demonstrate how she is taking matters into her
own hands and has the ability to use her knowledge of the plane’s
engineering and design to her advantage. Also, it symbolizes the
strength of her belief that Julia is in serious danger to commit
something so terrifying.
• Continuity- There is continuity editing during the conversation
between Julia and Kyle at the beginning. This effectively
establishes their close relationship and opens the teaser at a calm
and slow pace. However the majority of the teaser are a montage
of shots to encourage intrigue from the viewer.

32. Flight Plan- Teaser’s Style
• Transition- There are many fade to black’s throughout the teaser. For
example, at the very start during the establishing shot of the airport to
further help open the teaser in a composed manner so that the
audience can really see the change in mood throughout. Secondly,
there is use of the fade to black transition around the shot of the
coffin, perhaps to symbolize the theme of death and passing away.
However, during the fast pace sections there is repeated use of
straight cuts to help keep the rhythm consistent. Also, there is use of
focus transition 24 seconds in where the airhostess starts blurred out
then comes into focus. This could symbolize the confusion Kyle must
be feeling at this point when she can’t find Julia
• Shot duration/pace/rhythm- During the very opening the pace is very
slow to represent how orderly everything was when Julia was around,
however when Julia disappears the pace quickens hugely, implying the
alarm and suspicion Kyle must be feeling. However, during the section
where Kyle is told Julia passed away the pace slows to capture the
utter shock and disbelief of Kyle. During the climax the pace quickens
again but is then slowed down to show the title at the end.
• Special effects- There are many special effects during the virtual tour
of the airplane at the start. This is effective in further emphasizing the
technologically advanced and sophisticated design and structure of
the aircraft. This raises the audience’s expectations of the plane and
makes it clear that Kyle designed the aircraft.

33. Flight Plan- Teaser’s Style
• Mise-en-scene
• Setting- The setting of an airplane gives rise to
themes of entrapment and enclosure. Also,
there is use of pathetic fallacy as in the
establishing shot it is snowing, foreshadowing
how the flight is going to cold and dangerous.
• Props- 17 seconds in there is a teddy prop,
used to symbolize Julia’s youth and naivety.
Also, 12 seconds in Julia’s passport is shown.
This is effective in portraying a sense of
mystery in her disappearance as Kyle is so sure
she boarded.

34. Flight Plan- Teaser’s Style
• Costume/hair/make-up- Kyle’s
appearance is very natural and motherly.
This inspires the audience to believe her
story and sympathize with her. Also, Julia’s
tied back ponytail and young appearance
help portray her vulnerability. Also, her
black dress may symbolize that she is
heading for danger and trouble. Gene’s
appearance is very respectable as his hair
arranged neatly and his clothes are
ordinary. This could represent him as
genuine character so the audience are not
suspecting that he is really the culprit and
villain of the plot.

35. Flight Plan- Teaser’s
Style
• Facial expression/body language- 39 seconds in
the body language of Kyle and Julia are very
affection further implying their close
relationship. 50 seconds in Kyle is furrowing her
eyebrows and her eyes are watering showing just
how frightened and terrified she is feeling about
the Julia’s disappearance. 1 minute 15 seconds in
Kyle is shown to be very angry as she scrunches
up her face and uses a very firm and distressed
tone of voice.
• Lighting/colour- 1 minute 2 seconds in when Kyle
turns off the plane lights very dark lighting is
used to symbolize the complete chaos and panic
in the room. Also, 1 minute 11 seconds in Gene is
shown as a silhouette running down a passage,
perhaps indicating that he is darker and more
secretive than he first appeared. Also, the green
colouring behind him could further be symbolic
of his villainous role.